An Investigation into the Nature of Stucco Motifs at the Sasanian Complex of Tepe Hissar, Damghan: Insights into Functional Implications

Abstract
Stucco decoration represents a refined and prolific art form of the Sasanian period, with the discoveries from the Sasanian structure at Tepe Hissar, Damghan, standing as a distinctive example within this corpus. While diverse methodological approaches exist for the examination of stucco assemblages, this study employs a typological classification based on specific motifs and motif groups. The primary research inquiry addresses whether an analysis of the stucco recovered from the Damghan structure can elucidate the building’s function beyond merely establishing its chronological horizon. The working hypotheses posit that the decorative program at Hissar embodies a dual character: adherence to the formal canon of Sasanian art alongside the articulation of indigenous traditions. This synthesis underscores the dynamism of Sasanian art, serving as a medium that both projects central authority and integrates regional vernaculars. The superior craftsmanship of these artifacts suggests a courtly or ritual function for the structure, underscoring its pivotal role in the transmission of artistic traditions to Islamic architecture. The iconographic repertoire of the Sasanian stucco at Tepe Hissar encompasses geometric, floral, faunal, and anthropomorphic designs. By correlating specific decorative elements with distinct architectural elements of the building, and by evaluating the shared attributes and divergences among contemporaneous Sasanian sites, a more comprehensive understanding of the stucco assemblage recovered from Tepe Hissar can be achieved. The pronounced symbolic nature of the stucco motifs was a primary determinant in their selection for study. Consequently, this research aims to establish a foundational understanding of the stucco assemblage at the Tepe Hissar structure, utilizing a descriptive-analytical method grounded in the thematic interpretation of the material. Additionally, this study proposes a typological framework for the recovered artifacts, prioritizing relative over absolute chronology. The findings demonstrate that the stucco corpus can be categorized into distinct groups, notably plaques, anthropomorphic motifs, and faunal representations. Furthermore, a comparative analysis of the anthropomorphic designs unveils a religious function for the complex, a hypothesis substantiated by the presence of symbolic iconography such as lions, boars, and female figures.
Keywords: Stucco Decoration, Sasanian Period, Palace, Fire Temple, Tepe Hissar, Damghan.
 
Introduction
The Sasanian structure at Tepe Hissar is located approximately 200 meters from its prehistoric mound (the famous Tepe Hissar) and to the southeast of the Tarikhaneh Mosque in Damghan. During his excavations at the prehistoric site, Schmidt observed a low mound whose surface was strewn with stucco fragments, as well as Islamic glazed pottery and red and gray wares. Based on this evidence, and after making the necessary arrangements, the team was prompted to open a test trench, which led to the discovery of architectural remains and stucco decorations—findings that initiated later extensive excavations at the site. One of the most significant discoveries during these excavations is a structure that, according to the excavator, is a palace dating to the Sasanian Period.
By focusing on the architectural evidence and surviving stucco fragments at Tepe Hissar, this study seeks to elucidate the site’s position within the Sasanian artistic tradition and its role in the historical continuity of Iranian architecture, particularly in subsequent periods. To date, research has predominantly been concentrated on the prehistoric deposits of Hissar, with the Sasanian phase receiving comparatively little attention. The examination of the structure’s stucco work transcends a purely art-historical study; given that the modern Damghan region lies at the heart of the east-west civilizational corridor, these finds reflect the political and cultural standing of Damghan during the Sasanian era. Beyond their decorative function, these stucco elements convey ritual and political messages, serving as a bridge between court art and local traditions, while also playing a pivotal role in the transmission of Sasanian art into Islamic architecture.
Key objectives of this research include identifying the formal and technical characteristics of the stucco fragments, analyzing the potential relationship between the functions of architectural structures and its ornamentation, and elucidating the sociopolitical status of the Damghan region during the Sasanian Period. These objectives aim to facilitate a comprehensive reconstruction of the building’s aesthetic and symbolic functions. The stucco decorations at Tepe Hissar are regarded not merely as architectural embellishments but as artistic and ideological statements. The central issue addressed by the present study is whether an analysis of the iconographic nature of the stucco motifs found in the Sasanian palace at Tepe Hissar in Damghan can yield proposals regarding the building’s function.
Research Questions and Hypotheses: The primary research question asks whether, through the study of stucco fragments excavated from the Sasanian structure at Tepe Hissar in Damghan, it is possible to determine the building’s function in addition to establishing its chronology. The research hypotheses posit that the stucco decorations at Tepe Hissar possess a dual nature: adherence to official Sasanian artistic canon alongside the reflection of local traditions. This synthesis illustrates the dynamism of Sasanian art, which simultaneously projected central authority while assimilating regional contexts. The superior quality of the artifacts suggests a courtly or ritual function for the structure and underscores its pivotal role in the transmission of artistic traditions to Islamic architecture.
Research Methods: This study is fundamental in nature and employs a descriptive-comparative approach. Data collection methods comprise fieldwork, including the examination of stucco panels housed in the National Museum of Iran and on-site surveys of Tepe Hissar, and library research. The archival component involves a review of documents related to Erich Schmidt’s excavations, which contain extensive reports featuring maps, plans, original photographs, and detailed descriptions of the architecture and ornamentation. Furthermore, stucco panels held at the University of Pennsylvania Museum in Philadelphia have been examined to facilitate comparative analyses between the decorations of the Tepe Hissar structure and those of other Sasanian monuments.
 
Stucco Techniques
From a technical standpoint, the stucco work at Hissar was executed using four primary techniques: 1. Molding: Designs were incised in negative relief onto wooden or clay matrices, after which liquid plaster was poured into the molds. This technique facilitated the production of repetitive and standardized motifs, and a significant portion of the architectural elements in the structure under discussion was manufactured using this technique. 2.  Carving: Representing the most ancient stucco technique, this involved carving the plaster with metal tools while it was still in a semi-desiccated state. This approach was employed for intricate details and zoomorphic motifs; examples of this technique are evident at the Hissar building (specifically the boar and deer designs referenced in the main text), as well as at Bandian-e Darreh Gaz, Ctesiphon, and Chal Tarkhan. 3. Applied Relief: In this technique, a plaster element was fashioned separately and subsequently affixed to another structural component. The renowned frame discovered at Tepe Hissar, depicting a female figure—though partially deteriorated—serves as a quintessential example of this technique. 4. Composite: This entails the simultaneous application of multiple techniques to achieve optimal results, a practice observed in numerous artifacts recovered from Tepe Hissar.
In summary, characterized by their technical diversity and visual richness, the stucco decorations at this site underscore the prominent position of the Sasanian structure at Tepe Hissar within Sasanian art, highlighting its significance in manifesting political and ritual grandeur.
 
Conclusion
An examination of the architectural decorations at Tepe Hissar in Damghan suggests that the site served not just as a residential settlement, but as a ritual and religious sanctuary, as well. The stucco reliefs and wall paintings share a common lineage with prominent Sasanian counterparts at Umm al-Za‘atar, Ctesiphon, as well as Chal Tarkhan and al-Ma‘arid, reflecting a unified artistic tradition spanning the Sasanian Empire. From an aesthetic perspective, these motifs convey ritual and symbolic concepts beyond their decorative function: the boar and ram allude to the deity Bahram, the deer to Khvarnah and the rising sun, the lion to Mithra and Anahita, and the lotus flower to Anahita and divine glory. The undulating bands symbolize Khvarnah and the union of religion and state. A defining characteristic of these motifs is their emphasis on serenity and naturalism; animals and humans are depicted with tranquility and dignity, devoid of violence or hunting scenes. Architecturally, the structure adheres to a pattern observed in other fire temples, comprising a courtyard, a columned hall, a domed chamber (the place of worship), corridors, and ancillary rooms. Architectural ornamentation is extensively applied throughout the magnificent columned hall, while the worship space remains austere and unadorned. The primary construction materials consist of mudbrick, chineh (pisé), and gypsum, with gypsum utilized not only in structural elements but also for plastering and decoration. Although fragmentary and scarce, the wall paintings suggest that the formal areas of the building were designed to impress viewers. Equestrian scenes, whether depicting hunting or coronation rituals, reflect the display of royal authority and religious legitimacy. In summary, the stucco decorations at Tepe Hissar represent a synthesis of aesthetics and symbolism; while aligning with Sasanian courtly canons, they also exhibit local and innovative attributes. The structure can be identified as a sanctuary dating to the Sasanian period, likely constructed between the reigns of Kavad I and Khosrow II. It is a site where Sasanian art crystallized, showcasing the interconnection of Zoroastrianism, political power, and artistic grandeur. Furthermore, the complex remained extant into the early Islamic period, and its legacy endured in the architecture of Islamic Iran, with the art of stucco work playing a particularly instrumental role in shaping the post-Islamic Iranian architectural identity.